The movement can be divided into three parts: Chicago theatre, primarily in the west/southwest; Cuban-Americans theatre, mostly in New York and Florida; and the New York theater, which had a heavily Puerto Rican component. Many of the theatre movements started out from religious cores. For example, Spanish speaking theatre was first recorded performing in a mission in 1567 to present a religious support. The Mexican-American theatre most popular pieces includes Las Pastorelas, which has been redone over the years. As history moves forward, other groups boomed. The Puerto Rican community emerged in the US as a vibrant byproduct of the oppressive social conditions since many traveled here for economic reasons. In 1910, a spark in acting companies came when revolution broke in Mexico. San Francisco and Los Angeles grew in Hispanic theatre and Chicano theatre flourished in the 1920s. Valdez, who wrote Zoot Suit and other important plays, is one example of the emergence of Chicano theatre. His work gave momentum into calling out problems of discrimination within the legal system. Plays served as conduits for cultural, ethical, and moral values. Language is also an important factor. As younger artists came in, their works were in English and Spanish, which dealt with acculturation, bilingualism, and generational gap between immigrant parents and US-raised children. Zoot Suit shows these cultural, ethnic, and linguistic clashes that occurred through its characters and plot.